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Edward Willis Redfield, ‘In the Forest of Fontainebleau, France’, 1900, Rago/Wright
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In the Forest of Fontainebleau, France, 1900

Oil on canvas (framed)
16 1/4 × 12 in
41.3 × 30.5 cm
Bidding closed
About the work
Provenance
RW
Rago/Wright
Medium
Painting
Signature
Signed, dated and inscribed
Edward Willis Redfield
American, 1869–1965
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Edward Redfield was the most prominent member of the New Hope School of landscape painting, revered for his bravura paint handling and immense Impressionist canvases made along the Delaware River, many made en plein air and in the biting cold of winter. In the decade before 1900, Redfield studied and worked in France, rooming with Robert Henri in Paris, and coming under the influence of William Gedney Bunce and James Abbott McNeill Whistler; his “soup” method of painting, applying a neutral tone to the prepared canvas, required only a minimal amount of paint to be used, while the ground additionally supplied a unifying and harmonizing element. Redfield’s love of dramatic form never faltered even as he moved away from the moody and often haunting sensibility of the early work to his classic Impressionistic snow scenes and his late works of seaside Maine. The charismatic Redfield employed both Tonalist and Impressionist modes according to his requirements.

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Edward Willis Redfield, ‘In the Forest of Fontainebleau, France’, 1900, Rago/Wright
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Save
Save
View
View in room
Share
Share
About the work
Provenance
RW
Rago/Wright
Medium
Painting
Signature
Signed, dated and inscribed
Edward Willis Redfield
American, 1869–1965
Follow

Edward Redfield was the most prominent member of the New Hope School of landscape painting, revered for his bravura paint handling and immense Impressionist canvases made along the Delaware River, many made en plein air and in the biting cold of winter. In the decade before 1900, Redfield studied and worked in France, rooming with Robert Henri in Paris, and coming under the influence of William Gedney Bunce and James Abbott McNeill Whistler; his “soup” method of painting, applying a neutral tone to the prepared canvas, required only a minimal amount of paint to be used, while the ground additionally supplied a unifying and harmonizing element. Redfield’s love of dramatic form never faltered even as he moved away from the moody and often haunting sensibility of the early work to his classic Impressionistic snow scenes and his late works of seaside Maine. The charismatic Redfield employed both Tonalist and Impressionist modes according to his requirements.

In the Forest of Fontainebleau, France, 1900

Oil on canvas (framed)
16 1/4 × 12 in
41.3 × 30.5 cm
Bidding closed
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